Writer: Lynn Nottage
Director: Christopher Wheeldon
Adapting pre-existing material for the stage comes with its own challenges. Re-enactments inevitably invite comparisons to the original work, plays based on books are measured against their fidelity to the source, and well-known musicals must satisfy audiences already familiar with the music.
But MJ: The Musical faces an altogether different challenge. For Jamaal Fields-Green, the new lead of this now well-established musical production, a faithful portrayal of the King of Pop is key to the perception of his success: a faithful portrayal, not only of his singing but also of his dancing, his voice and his character. In addition, Fields-Green isn’t the first to portray the king on the London stage; taking over the glove, sparkling blazer and fedora from previous lead actor Myles Frost, Fields-Green must somehow also find a way to stamp his own individual take on this iconic artist, whilst maintaining the integrity of the performance.
It’s a huge, and unenviable task: Fields-Green has dauntingly large shoes to fill. And he is not without preparation, having already performed on Broadway, the US National Tour and learnt the role as an understudy for a previous lead actor. In interviews, Fields-Green claims to have been an MJ fan from his youth, growing up with the King of Pop’s biggest hits as his childhood backing tracks. So when this clear admiration for an artist is fused with meticulous practice, the result cannot help but be spectacular.
From the little vocal hiccups to the breathy intermissions in his singing, Fields-Green’s performance is the work of an actor who has studied the quintessential mannerisms and vocal tics which made Jackson into an icon. There is a real sense of reincarnation as we watch this tribute to the King of Pop play out as a love letter across stage. Fields-Green has mastered his icon: even his crotch grab is precise, and his steps – effortless though they may seem – are the product of careful rehearsal. To his dancing, Fields-Green brings MJ’s particular steps, high kicks and characteristic spins. To his singing, Fields-Green brings MJ’s range: from high falsetto to tenor rhythm (and the breathy cries in between). Even Jackson’s voice – perhaps the hardest of all to imitate – has been carefully emulated. This is a precise and meticulous performance.
But ‘precise’ and ‘meticulous’ don’t do this musical tour-de-force justice: this doesn’t feel like a scientific re-enactment of a past hero, but an emotional reincarnation of a musical legend, brought carefully to life by a team of creatives who patently adore MJ’s greatest hits. Conjured up by a live band, masterful production and a roster of talented dancers, this is truly the effort of the many, brought together in honour of one man.
Fields-Green may be the production’s new lead, but he is bolstered by a talented cast, including a young Michael (Ari Adebiyi) and adolescent Michael (Mitchell Zhangzha), as well as a wider ensemble of accomplished dancers who lift and support MJ through his performances, and reshape the set before our eyes, even as Fields-Green and team distract us with song and dance.
The result: a carefully curated selection of MJ’s greatest hits – Beat It, Thriller, Billie Jean and more – joyfully and joyously performed. The written word feels like a blunt instrument by comparison – its charisma and enthusiasm are better witnessed than described. It’s a production not entirely without flaws – at times, the story is cliched, or moments of the narrative feel somewhat shoehorned in, to enable one of the songs. But ultimately, this production knows that it’s here to enable the songs, and not the other way round – and so, it embraces this premise. It’s Michael Jackson’s music, loosely joined by a narrative, rather than a narrative propelled by Michael Jackson’s music – and it feels no less successful for this.
Fields-Green breathes new life into this already acclaimed performance, proving, once again, that the hits of the past are still as relevant now, as they ever were. His vocal range feels particularly strong on some of MJ’s calmer, more emotional hits: Human Nature, Stranger in Moscow, Man in the Mirror, where he is allowed to shine solo before being joined by the masses. But he shows no less care to the bigger, brasher showstoppers. These are big shoes to fill, but Fields-Green shows he can don the iconic low-cut loafers and white socks, and make them his own.
Booking until 13 September 2025
The Reviews Hub Score
Precise, meticulous and joyous
